Outstanding Performance: Yubeen Kim in Recital with Julin Cheung and Yu-Hsin Galaxy Su
A Trilling Triumph: Yubeen Kim in Recital, Extraordinary Artistry, Effortless Mastery
A tremendous sold-out recital unfolded last night with Yubeen Kim, international flute soloist, newly appointed Principal Flute of the San Francisco Symphony, and Professor of Flute at the San Francisco Conservatory of Music. The evening was a compelling showcase of outstanding technical brilliance and artistic expression, affirming Kim’s stature as one of the most complete and poetic flutists—a true thrilling triumph from start to finish.
The program opened with two gems by Philippe Gaubert—Berceuse and Sicilienne—works that immediately highlighted Kim’s hallmark sound and musical sensibility. His lush tone, perfect intonation, and liquid, fluid phrases unfolded with a sense of effortless mastery, drawing the listener into Gaubert’s refined "French sound" world. Particularly striking was Kim’s ability to shape long melodic lines with poetic resonance, supported by a supple sense of rubato and an incredible command of dynamics. Pianist Yu-Hsin “Galaxy” Su provided a beautifully balanced partnership, her touch transparent and sensitive, allowing the flute line to glow naturally.
The transition to C.P.E. Bach’s Trio Sonata in D minor, H. 569 (Wq. 145) revealed a different facet of Kim’s artistry. Joined by Julin Cheung, newly appointed Assistant Principal Flute and Piccolo of the Vancouver Symphony Orchestra, the ensemble demonstrated exemplary chamber musicianship. The Allegretto sparkled with clarity and forward motion, while the Largo unfolded with depth and expressive gravity, shaped by supreme intonation and carefully calibrated phrasing. In the lively Allegro, the flutists’ exquisite dovetailing and rhythmic precision allowed the contrapuntal lines to feel both independent and unified—emerging as one through shared articulation and stylistic understanding. Throughout, the collaboration was marked by poised musicality and refined stylistic awareness. Subtle color changes, aided by tasteful finger vibrato, gave the music an intimate, vocal quality without ever disturbing its elegant restraint.
Virtuosity came to the fore in Franz Doppler’s Andante et Rondo, Op. 25, a work that demands both bravura and lyrical finesse. Here, Kim and Cheung delivered an incredible performance that balanced brilliance with elegance. The Andante sang with warmth and flexibility, while the Rondo dazzled with effortless technical command, buoyant articulation, and sparkling ensemble interplay. Despite the work’s showmanship, nothing felt exaggerated; rather, the performance radiated joy, polish, and complete control. Su’s accompaniment was rhythmically incisive and stylistically assured, providing a vibrant foundation for the flutes’ virtuosic exchange.
Following intermission, the duo returned for Wilhelm Friedemann Bach’s Flute Duet No. 4 in F Major, F. 57, The opening Allegro e moderato danced with elegance, while the Lamentabile stood out as a moment of introspective, heart stopping beauty. Here, Kim and Cheung displayed remarkable blend and sensitivity, shaping the long lines with restraint and expressive honesty. The concluding Presto burst forth with energy and precision, the duo’s articulation crisp and buoyant, their ensemble once again a model of cohesion: a sonic gem in the evening's performance!
Kim then offered a deeply lyrical interpretation of Lensky’s Aria from Tchaikovsky’s Eugene Onegin, transcribed for flute and piano. This performance distilled Kim’s greatest strengths: liquid phrasing, poetic resonance, and an almost vocal sense of breath and inflection. His sound carried profound emotion, shaped with passion and intensity while maintaining intonation and integrity—never forced. Su matched this sensitivity with a richly supportive piano line, allowing the aria’s emotional arc to unfold naturally.
The evening culminated in Prokofiev’s Sonata for Flute and Piano in D Major, Op. 94, a cornerstone of the flute repertoire and a fitting conclusion to the program. From the poised lyricism of the Moderato, through the biting wit of the Scherzo, the serene introspection of the Andante, and the exhilarating drive of the Allegro con brio, Kim demonstrated effortless mastery across the sonata’s wide expressive and technical demands. His incredible dynamics, rhythmic vitality, and supreme intonation anchored the performance, while Su’s crisp articulation and keen sense of character brought the piano part vividly to life. The partnership felt equal, conversational, and thrillingly alive. The audience was captivated from start to finish as they leapt in a unanimous standing ovation.
The hall was filled to capacity with a true who’s who of musical dignitaries, devoted listeners and an impressive contingent of San Francisco Symphony players. After sustained standing ovations, Kim offered a luminous encore: “Méditation” from Thaïs, delivered with simplicity, warmth, honesty and glowing serenity. A sublime finish to the extraordinary concert!
This was, by every measure, a tremendous recital—one that celebrated not only virtuosic command, but depth of expression, stylistic intelligence, and generous musicianship. A thrilling triumph, a treasured evening that will linger long in the memory.
